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Grateful Dead

The Best of the Grateful Dead Live: 1969-1977 - Vol 1 (Pre-Order)

The live albums the band released during its 30-year career are the primary source for the collection, with some performances selected from the growing number of live releases that have emerged since 1995. Vol. 1 covers 1969-1977 with fan-favorite tracks such as "Bertha" from the 1971 Skull & Roses, and "Truckin'" and a searing rendition of "Morning Dew," from the revered double-album Europe '72.

"We wanted to follow up the 2015 The Best Of The Grateful Dead studio set with a live counterpart, and have focused our efforts on the band's primary live albums as well as some key tracks from archival concert releases," says band archivist and producer David Lemieux. "Just as there was nothing like a Grateful Dead concert, there is also nothing like a live Grateful Dead recording; it's no secret that as good as the Dead's studio recordings were, they excelled in front of an audience, and this set provides an overview of just how great the Dead were live in concert."

Europe '72

Nearly 40 years ago, the Grateful Dead released Europe '72, a triple live album documenting its historic trek across Europe that became not only one of the band's best-selling releases, but also set the gold standard for live Dead.

The Grateful Deads first tour outside of North America took them to all sorts of historic and unusual venues in England, Denmark, West Germany, France, Holland and even Luxembourg. Many members of the Dead family came along on what was really an extended working vacation that was designed to both expose the Dead to new audiences and also reward the band for their unlikely conquest of America during the preceding two years. As a hedge against the costs of the nearly two-month trip, the Deads label, Warner Bros., paid for the band to lug around a 16-track recorder to capture the entire tour.

This was a band at the top of its game, still ascending in the wake of three straight hit albums: Workingmans Dead, American Beauty and the live Grateful Dead (Skull & Roses). It had been a year since the lineup had gone to its single-drummer configuration, six months since Keith Godchaux had been broken in as the groups exceptional pianist, and this marked the first tour to feature Donna Godchaux as a member of the touring band. This would also be Pigpen's final tour with the band.

There was a ton of new, unreleased material that came into the repertoire in the fall of 71 (after Skull & Roses was out) and during the spring of 72, including Tennessee Jed, Jack Straw, Hes Gone, Ramble on Rose, One More Saturday Night and Mr. Charlie. All those future classics were interspersed with songs from the aforementioned hit albums such as Cumberland Blues and Sugar Magnolia, as well as spectacular versions of Truckin and I Know You Rider.

Cambodian Refugee Benefit 1980

A Grateful Dead broadcast on KSAN for the final time as they play on home turf for a worthy cause. The Benefit Concert for Cambodian Refugees, held at the Oakland Coliseum Arena on January 13th, 1980. Although the Dead were the headliners by 1980, they still played just 76 minutes - a very limited time in comparison to the three-plus hours the group would usually play around this era. The finale, Sugar Magnolia, features the guitar playing of Carlos Santana.

Spring 1990: So Glad You Made It

Friday Music is pleased to announce the exclusive 180 Gram Audiophile 4 LP Box Set of the Grateful Dead's Spring 1990- So Glad You Made It. This ltd. ed. set is a treasure trove of highlights from 6 of their finest shows from their legendary Spring 1990 tour. Filled with 20 unreleased gems, Dead classics & rarities abound in this lengthy audiophile dream box. Tracks include Loser, Scarlet Begonias, Estimated Prophet, Playing In The Band & The Rolling Stones The Last Time.The LP box & labels also feature the artwork of Wes Lang, including a LP art insert suitable for framing.

LP 11. Let the Good Times Roll2. Feel Like A Stranger3. West L.A. Fadeaway4. Easy To Love You5. Beat It On Down the Line6. Loser7. Jack-A-Roe

LP 21. It's All Over Now2. Bird Song3. The Last Time4. Blow Away5. Samson and Delilah

LP 31. Scarlet Begonias2. Estimated Prophet3. Playing In the Band4. Eyes of the World

Workingman's Dead defies the erroneous belief that the Grateful Dead never attained brilliance in the recording studio. Forever prized for natural sonics, Workingman's Dead attains audiophile reference status courtesy of this first-ever 45RPM version. As flawless as any rustic album ever released, the 1970 set now brims with soaring harmonies, organic execution, intertwined textures, and uncomplicated structures that furnish the songs a transcendence associated with timeless American music. Colorful, relatable characters seemingly torn from working-class histories and old-time fables inhabit the narratives.

Mastered from the original master tapes and pressed on 180g LPs at RTI, Mobile Fidelity's numbered limited edition of this period-defining recording renders the stripped-down fare with immense detail, rich airiness, and reach-out-and-touch-it realism. Longtime Deadheads and newcomers alike will hear significantly more information, experience wider and deeper soundstages, and become swept away by incredible tonal and vocal balances-traits made possible by the format's wider grooves. Instrumental melds and refined accents, such as guest David Nelson's nimble fills on "Cumberland Blues," are part of a larger whole that gives the impression you are witness to the world's coziest campfire session. Frontier tales and refined performances further this feeling.

The first Grateful Dead album to eschew cosmic jams and complex signatures, Workingman's Dead stakes its existence to great songs, homespun warmth, and bare essentials. Its wistful, relaxed state-immediately apparent via the innocent album-opening invitation "Will you come with me?" on "Uncle John's Band"-owes to the circumstances and conditions surrounding its creation. At the time, the Dead owed a considerable financial debt to Warner Bros. and were hobbled by a recent drug bust and financial scandal. Most significantly, the band was recovering from-and reacting to-the tragic events of the Altamont Music Festival and symbolic end of the peace and love era.

As such, Workingman's Dead acts as a retreat from chaos and uncertainty, its songs emblems of simpler times and pleas for compassion in the face of hardship. Lyricist Robert Hunter said he aimed to capture the vintage elements of late 1940s country-and-western jukebox singles as well as old blues classics. In that vein, fare such as the Bakersfield-leaning "Cumberland Blues," pastoral ballad "Dire Wolf," and bluesy "Easy Wind" hit the mark. Leader Jerry Garcia's occasional pedal-steel underpinnings arrive as a bonus.

Of course, aside from the economical concision and thematic consistency, the genius of Workingman's Dead resides in the group's expressive harmonies. Taught by Crosby, Stills and Nash, the Dead produce live "air blends" of multi-part vocal harmonies that provide the foundations of nearly every track. "Uncle John's Band," "High Time," "New Speedway Boogie" (with the iconic refrain "One way or another/This darkness has got to give" referencing the ill wind that greeted the new decade), and the radio favorite "Casey Jones" practically float on the ensemble's communal vocal beds.

Mobile Fidelity's 45RPM edition renders these invigorating, refreshing, and engaging characteristics in three-dimensional sound that transports you to the event. Recordings don't get more lifelike. Workingman's Dead-an iconic, ageless record that drew countless listeners to the band's unique style because of its accessibility and charm-deserves nothing less. Neither do you.

One From The Vault

Back In Print On Vinyl After 22 Years On 3xLP

First Ever American LP Release

Newly Re-Mastered By Joe Gastwirt

Lacquers Cut By Kevin Gray

For a legacy filled with legendary performances, the Grateful Dead Live at the Great American Music Hall in San Francisco on August 13th 1975 stands out. The band only played 4 shows during that entire year! (Remarkable for a band that toured non-stop for decades) and at their August 13th show, they rolled multi-track tape (which allowed for the band decades later to properly mix the show).

Because the Great American Music Hall holds less than 1,000 people (another unique thing about this show), it was an invitation only performance in which the band debuted their recent studio album Blues For Allah in a live setting.

Although One From The Vault has been available on CD nearly continuously since 1991, the vinyl version was only available for less than a year (and in Europe only) in the early 1990's. This deluxe vinyl reissue marks the first time this legendary show has been available anywhere in over 20 years and the first time in America.

Rolling Stone magazine has described One From The Vaultas:

''The closest the Dead came in the Seventies to the band's trippy, late-Sixties peak, and the performance indulged the group's jazzy, free-form impulses even further. ''Help on the Way,'' ''Franklin's Tower'' and ''The Music Never Stopped'' cohere into a twenty-minute song cycle. ''King Solomon's Marbles,'' a tumbling, polyrhythmic instrumental by bassist Phil Lesh, crackles with energy. Inventive percussion duets by Mickey Hart and Bill Kreutzmann are appended to ''Eyes of the World,'' as well as to the pretty, elliptical ''Crazy Fingers.'' The crowning touch is ''Blues for Allah,'' which runs 21 minutes and explores inner space with a meditative intensity barely hinted at on the studio version.''

1. Introduction2. Help on the Way3. Franklin's Tower4. The Music Never Stopped5. It Must Have Been the Roses6. Eyes of the World / Drums7. King Solomon's Marbles8. Around & Around9. Sugaree10. Big River11. Crazy Fingers / Drums12. The Other One13. Sage and Spirit14. Goin' Down the Road Feeling Bad15. U.S. Blues16. Blues for Allah

American Beauty

Widely regarded as the Grateful Dead's studio masterpiece, 1970's American Beauty is a further refinement of the roots direction the band undertook with Workingman's Dead which was released earlier the same year. Includes some of the Dead's best-known material in Sugar Magnolia, Friend Of The Devil, Ripple, Box of Rain and Truckin.

Truckin' Up To Buffalo

5 180 Gram Vinyl LP Box Set

While glancing at the song list may not reveal any surprises, finicky and hard to please enthusiasts will be thrilled by above-average playing from start to finish...Garcia seems to be in good spirits, as his resounding vocals and fretwork are consistent and exceptional. In his intangible fashion, Garcia is able to elevate the proceedings from being merely adequate into the occasionally rarefied air of excellence. -Lindsay Planer, allmusic.com

American Beauty

Close Your Eyes As the Dead Serenade You in Your Room: MoFi Edition of American Beauty Epitomizes Realistic Space, Vocals, Instrumentation, and Ambience

Ranked #261 on Rolling Stone's List of the 500 Greatest Albums of All Time: Includes "Truckin'," "Sugar Magnolia," "Friend of the Devil," "Ripple"

American Beauty is the most perfectly realized, superbly played, and openly natural folk-rock record ever released. They don't make albums like this anymore, but thankfully, Mobile Fidelity's extraordinary 180g 45RPM 2LP set allows you to experience this 1970 masterpiece with unrivaled intimacy, realism, detail, and perspective. The Dead might as well be sitting on a Persian carpet right in your living room.

The pinnacle of the Dead's studio output, American Beauty lives up to its name-as well as that of the "American Reality" ambigram on the iconic cover. Airy vocal harmonies blow like fresh breezes. Strummed acoustic guitars amicably intermingle with plaintive percussive beats. Warmth, relaxation, and poignancy envelop the performances and create sensations of bliss, peace, and honesty. Songs flower with majestic melodies and emotionally direct lyrics. It's a rare album that invites and makes you feel, restores one's faith, and renews one's appreciation for all life offers.

Mastered from the original master tapes and pressed on 180g LP at RTI, this deluxe analog set possesses seemingly limitless dynamics, reference-grade presence, and expansive soundstages. The seamless, effortless integration of the group's vocals has always been a high point of American Beauty, and when you hear it here, you'll want every record you own to sound half as good. Every member's distinctive singing resounds with tube-like clarity; the intended expressionism is as plain as day. Instruments, too, resonate in glorious Technicolor. The supple tension of Phil Lesh's bass lines, charismatic timbres of Jerry Garcia's pedal-steel fills, and interwoven dialogue between the pianos and percussion are rendered with lifelike scale and tone.

Made just months after its companion release, Workingman's Dead, the San Francisco legends' second 1970 masterpiece furthers the former work's close-knit relationship between country and folk while adding extra rock and bluegrass currents. Understated amplified passages, graceful melodies, layered singing, and old-time string flavors-including mandolin work from masterful guest David Grisman-bestow the material with easygoing, comfortable vibes. Again taking advantage of the best songwriting of Robert Hunter's career, the Dead turns in its most collective studio performance, with every individual contributing equally and focusing on nothing but the songs at hand.

Indeed, Garcia doesn't even indulge in a single guitar solo on the record. A majority of fare lacks any significant instrumental breaks. The Dead recorded the foundations (drums, bass, acoustic guitars) of nearly every track live, which helps explain why American Beauty sounds so powerfully rich and clear. Coupled with the band's personal reflections of the circumstances surrounding them-Bob Weir's parents had died, Garcia's mother and Lesh's father were in the process of passing, Ron "Pigpen" McKernan's health was in decline-these characteristics combined to yield a purity of heart that exceeds that managed by Dead peers (and roots revivalist leaders) The Band and Bob Dylan.

From Garcia's breathtaking gospel-laden homage to his mother ("Brokedown Palace") to Lesh's healing salve in the form of the groove-based "Box of Rain," from Weir's jaunty and free-wheeling summer escape "Sugar Magnolia" to McKernan's eloquently simple homespun plea "Operator," all the way to the closing autobiographical anthem "Truckin'," American Beauty feels like the warm, spirit-infusing embrace of a loved one after a long journey away. Welcome home.

The legendary Bay area rock superstars the Grateful Dead scored for over four decades a plethora of wonderful recordings throughout their incredible career. Spearheaded originally by the late great Jerry Garcia, Bob Weir, Phil Lesh, Bill Kruetzmann and the late Ron "Pigpen" McKernan, these five gentlemen set the world on fire with their magnificent artistry and musicianship unparalleled to this day.

With their very first San Francisco live gigs and when they were locally known as The Warlocks, the historical importance of these debut concert recordings would soon become a blueprint for the music world as the Grateful Dead would become one of the biggest concert attractions of all time.

Over a decade ago, the Grateful Dead unearthed 14 super rare live recordings from the mid-sixties. None of these recordings were ever previously released at the time. Recorded in San Francisco from a July 1966 performance, when they were signed to the Scorpio Records label, this ultra rare concert tape simply became manna for the fans and was truly a find for any collector of fine rock and roll and early psych and garage rock fare.

Dead fan favorite Viola Lee Blues kicks off the rare collection, and then the fireworks light up as future Grateful Dead classics like Don't Ease Me In and the stellar Jimmy Reed classic Big Boss Man truly become a very important and interesting listen to any fan of the Dead or classic rock in general. Known for their jams in concert, you will get to hear stellar takes on rare blues tracks like One Kind Favor, Next Time You See Me and of course their super rare Bob Dylan interpretation of It's All Over Now Baby Blue, which would be an interesting choice not knowing there would be future collaborations with Dylan in both of their important later careers.

Even superlative covers of Otis Redding's Pain In My Heart and the Slim Harpo blues champion I'm A King Bee are included in this amazingly important and historic rock release from this much loved band.These Grateful Dead recordings have never been released on the vinyl format that is until now Friday Music is very pleased to announce for the very first time on 180 Gram Audiophile Vinyl - The Grateful Dead's Birth Of The Dead Volume Two-The Live Sides. This deluxe 2 LP set not only has the original 14 live performances unearthed by the Dead themselves, but it also includes for the very first time anywhere several unearthed photos from the lens of the legendary Herb Greene. These first time issued photos show the very first sittings of the Grateful Dead and will make your listening hours that much more enjoyable as you stare at the brilliant pictures of your favorite rockers in this very special era.

As a further installment in the exclusive and authorized Grateful Dead Friday Music 180 Gram Audiophile Vinyl Series, this fine album is part of a historical two part audiophile vinyl series along with the Birth Of The Dead Volume One-The Studio Sessions which was released in late 2013.

Mastered impeccably for vinyl by Joe Reagoso (Grateful Dead) at Friday Music Studios and at Capitol Records, Hollywood, CA, this limited edition audiophile version of Birth Of The Dead Volume Two-The Live Sides will truly be a welcome addition to your Dead collection.Grateful Dead Birth Of The Dead Volume Two-The Live Sides a historic album first time release in the audiophile domain only from your friends at Friday Music Don't Ease Me In

LP11. Viola Lee Blues2. Don't Ease Me In3. Pain In My Heart4. Sitting on Top of the World5. It's All Over Now, Baby Blue6. I'm a King Bee

LP21. Big Boss Man2. Standing on the Corner3. In the Pines4. Nobody's Fault But Mine5. Next Time You See Me6. One Kind Favor7. He Was a Friend of Mine8. Keep Rolling By

Fillmore East 2-11-69

Live at the Fillmore East 2-11-69 is a double live album by the Grateful Dead recorded during the Live/Dead tour on February 11, 1969 at the Fillmore East in New York City.

Performing two hour-long sets as the opening act to Janis Joplin's New York debut as a solo star, the Grateful Dead turned in a characteristic performance for this period in their career. In between the release of their second and third albums, they devoted much time to the songs that would turn up several months later on Aoxomoxoa, including acoustic renditions of Dupree's Diamond Blues and Mountains of the Moon. Pigpen dominated the first set, singing the blues standards Good Morning Little Schoolgirl, I'm a King Bee, and Turn on Your Lovelight. But a large part of both sets was given over to the group's extended medleys, in the first set Cryptical Envelopment/The Other One, in the second Dark Star/St. Stephen/The Eleven. These involved, largely instrumental pieces set the tone for the Dead at the end of the '60s and produced their breakthrough with Live/Dead, which was recorded within weeks of this show. There is also a game version of Hey Jude, the biggest hit of the previous year, to end the first set, and an unlisted, interrupted performance of Cosmic Charlie as a second-set encore.

Garcia

Originally released in 1972, Garcia is Jerry Garcia's first solo album and was recorded over a three-week period almost entirely by Jerry with assistance from Grateful Dead drummer Bill Kreutzmann and lyricist Robert Hunter. Six songs - Deal, Bird Song, Sugaree, Loser, To Lay Me Down, and The Wheel - contained on the album would become staples within the Grateful Dead catalog. Garcia reached #35 on the Billboard album charts, making it the top charting album of Jerry's solo career.

Skydog: The Duane Allman Retrospective

Limited To 1000

Duane Allman was one of the defining musicians of our era, rated second only to Jimi Hendrix in Rolling Stone's list of rock's 100 greatest guitarists. A founding member, with his brother Gregg, of the Allman Brothers Band, Duane was also active as a session musician, and as a member of the all-star Derek and the Dominos.

This 14 LP set, produced by Duane's daughter Galadrielle Allman and esteemed reissue producer Bill Levenson, shows the full breadth and depth of Duane's work, from early recordings (with Gregg) in bands such as The Escorts, Allman Joys and Hour Glass; to his studio work with Aretha Franklin, Wilson Pickett, Boz Scaggs, Delaney & Bonnie, Ronnie Hawkins and many others; to a live jam session with the Grateful Dead. The set includes several unreleased performances, many classic Allman Brothers songs, and a collector's cache of rare singles and long out-of-print album tracks.

Also included are a 56 page book with essays by Scott Schindler and Galadrielle Allman, many rare photographs & more.

AOXOMOXOA

The Grateful Dead's 1969 release Aoxomoxoa is the band's third overall and first foray into 16-track recording. The technological advancements and lack of record label encroachment allowed the band a freedom to explore and experiment in the studio as never before. That along with the blossoming Jerry Garcia/Robert Hunter songwriting partnership made for artistically groundbreaking material that would serve as the band's last overtly psychedelic studio release.

Grateful Dead

Originally released in March of 1967 on Warner Bros. Records, The Grateful Dead's self-titled debut album features seven folk/blues standards from the likes of Sonny Boy Williamson and Jessie Fuller along with a pair of originals in The Golden Road (To Unlimited Devotion) and Cream Puff War. The set unabashedly flaunts the Dead's musical roots and influences while simultaneously showcasing the promising songwriting that would subsequently help define an entire genre.

1. The Golden Road2. Beat It On Down the Line3. Good Mornin' Little School Girl4. Cold Rain and Snow5. Sittin' On Top Of the World6. Cream Puff War7. Morning Dew8. New, New Minglewood Blues9. Viola Lee Blues

Blue Mountain

Bob Weir's First Album In 10 Years And First Album Of New Material In Over 30 Years

Written With Josh Ritter, Recorded With Members Of The National And Produced By Josh Kaufman

Before he co-founded the Grateful Dead, Bob Weir spent a summer working and living on a ranch in Wyoming, sparking a lifelong fascination with the stories and songs of the American West. Blue Mountain, Weir's first solo album in over 10 years, brings his musical journey full circle. Working with producer Josh Kaufman, acclaimed songwriter Josh Ritter, guitarists Aaron and Bryce Dessner and bassist Scott Devendorf, Blue Mountain is a moody, highly textured modern interpretation of Weir's unforgettable experience. Available as a stunning, high-quality 2LP set in a deluxe gatefold package.

The legendary Bay area rock superstars the Grateful Dead scored for over four decades a plethora of wonderful recordings throughout their incredible career. Spearheaded originally by the late great Jerry Garcia, Bob Weir, Phil Lesh, Bill Kruetzmann and the late Ron "Pigpen" McKernan, these five gentlemen set the world on fire with their magnificent artistry and musicianship which is unparaleled to this day.

With their very first San Francisco gigs and studio recordings when they were locally known as The Warlocks, the historical importance of these debut sessions would soon become a blueprint for the music world as the Grateful Dead would become one of the band's and biggest concert attractions of all time.

Over a decade ago, the Grateful Dead unearthed 17 super rare studio recordings from 1965 through 1967. Aside from an ultra rare 45 on Scorpio Records and a collaborative effort with Jon Hendricks on Verve Records, none of these recordings were ever released. Ranging from the very first sessions at Autumn Records (Beau Brummels, Sly Stone) and then the Scorpio Records sides, these tracks simply became manna for the fans and were truly a find for any collector of fine rock and roll and early psych and garage rock fare.

Gordon Lightfoot's Early Morning Rain kicks off the collection, and then the fireworks light up as future Dead classics like I Know You Rider, Don't Ease Me In and Cold Rain and Snow truly become a very important and interesting listen to any fan of the Dead or classic rock in general.

Known for their jams in concert and in the studio setting, you will get to hear stellar takes on rare tracks like Tastebud, The Only Time Is Now, and of course the super rare Jon Hendricks (Lambert, Hendricks & Ross) protest rocker Fire in the City.

These amazing Dead recordings have never been released on the vinyl format that is until now

Friday Music is very pleased to announce for the very first time on 180 Gram Audiophile Vinyl - The Grateful Dead's Birth Of The Dead Volume One-The Studio Sessions. This deluxe 2 LP set not only has the original 17 studio sessions unearthed by the Dead themselves, but it also includes for the very first time anywhere, several unearthed photos from the lens of the legendary Herb Greene. These first time issued photos show the very first sittings of the Grateful Dead and will make your listening hours that much more enjoyable as you stare at the brilliant pictures of your favorite rockers in this very special era.

As a further installment in the exclusive and authorized Grateful Dead Friday Music 180 Gram Audiophile Vinyl Series, this fine album is part of a historical two part audiophile vinyl series along with the Birth Of The Dead Volume Two-The Live Sides which will be released in early 2014.

Mastered impeccably for vinyl by Joe Reagoso (Grateful Dead) at Friday Music Studios and at Capitol Records, Hollywood, CA, this limited edition audiophile version of Birth Of The Dead Volume One-The Studio Sessions will truly be a welcome addition to your Dead collection.

Grateful Dead Birth Of The Dead Volume One-The Studio Sessions a historic album first time release in the audiophile domain only from your friends at Friday Music Don't Ease Me In

LP 1 The Autumn Sessions1. Early Morning Rain 2. I Know You Rider 3. Mindbender (Confusion's Prince) 4. The Only Time Is Now 5. Caution (Do Not Stop On Tracks)6. Can't Come Down

Built To Last

As a final studio effort, the iconic Grateful Dead's Built To Last offers a stunning view of a very popular band's experimentation and wizardry in the studio setting.Produced by Jerry Garcia and John Cutler, the original vinyl album was very scarce as the cd was the new medium of choice. With very few quantities of the vinyl album produced, Built To Last soon became a collector's item. Now for the first time ever on 180 Gram Audiophile Vinyl, Friday Music is very honored to announce the limited edition Grateful Dead authorized release of Built To Last. Mastered by Joe Reagoso and Kevin Gray.

1. Foolish Heart2. Just A Little Light3. Victim Or The Crime4. Standing On The Moon5. Blow Away6. Picasso Moon7. Built To Last8. I Will Take You Home

Day Of The Dead (Box Set)

Limited 10xLP Vinyl Box Set

Each Disc On A Different Color Vinyl

4AD are pleased to announce the release of Day of the Dead, a celebration of the Grateful Dead's music.

Day of the Dead was created and curated by brothers Aaron and Bryce Dessner of The National. The compilation is a wideranging tribute to the songwriting and experimentalism of the Dead which took four years to record, features over 60 artists from varied musical backgrounds, 59 tracks and is almost 6 hours long.

All profits will help fight for AIDS/ HIV and related health issues around the world through the Red Hot Organization, a 501(c)3. This is the 20th album of original music produced by Red Hot to further its mission. Day of the Dead is the follow up to 2009's Dark Was The Night (4AD), a 32-track, multiartist compilation also produced by Aaron and Bryce for Red Hot. Dark Was The Night has raised over 1.5 million dollars for the organizations fighting AIDS to date.

409

Purple play pop music. Messy, dirty, raucous, grit-spitting, tequila-glugging pop music. They do not apologise for this. They have a big streak of it running skunk-like up their backs and through urgent tunes full of indie-punk snarl and piss and vinegar, but driven by grooves deep enough to rival any hop-hop classics. They are wrestling pop away from the world of vocoders, slick dance routines and coquettish airheads and bringing back to where it belongs: to the beach, to the house party, dancing on the table in that bar you need a fake ID to get into. They like to bare flesh and play until they bleed. Good things followed: a huge local following, two managers and endless touring.

'(409)' is the name of the area code for their East Texas neighbour and the name of Purple's debut album produced by Chris 'Frenchie' Smith (...Trail Of Dead, Jet ). Recorded in El Paso, '(409)' is an album that's borne out of endless jams and no shortage of live shows where Purple offer a combination of the explosive and the celebratory. Instruments are abused and crowds are surfed; their shows are somewhere between the wild, fleshy abandonment of early White Stripes. "We're positive people," shrugs Busby. "We're always looking for the party somewhere. Or maybe we are the party."

Pop is there in the 60s garage-influenced brilliance of 'Beach Buddy', a song propelled by a dual girl/boy vocal and the same endless summer joie de vivre of Ramones, Black Lips and Weezer . The chorus is an earworm that burrows deep. It's there too in 'Wallflower', a joyously uplifting song that flips the usual script and sees a girl ardently - some might say aggressively - pursuing an admirer through the upended bottles, overflowing ashtrays and tangled limbs of a party: "I'm a girl - you're supposed to be chasing me!" With definite shades of Bikini Kill and No Doubt it's the best femme-punk song we've heard in an aeon. 'Head On The Floor' meanwhile is a proto-grunge song that swings like early Hole and has a whole of soul.

'(409)' is certainly an album with sand in its shoes and a rocket up its ass. It transports you to a better place. Listening to Purple quickens your pulse. Gives you the sweats. Has you reaching for a cold one. And then another. And then ten more. They make you feel alive. They are good for you.

1000 Hurts

1000 Hurts is the third full length album by Shellac, released July 31, 2000 (see 2000 in music). It is Shellac Record #11. In its official promotional materials Shellac described this album as follows: There are no 12-minute songs on this one. This record is more mean-spirited. Todd sings. The cover is a clear homage to the Grateful Dead's Dick's Picks series of live albums. The album was named Rockfeedback magazine's record of the decade.

1. Prayer to God 2. Squirrel Song 3. Mama Gina 4. QRJ 5. Ghosts 6. Song Against Itself 7. Canaveral 8. New Number Order 9. Shoe Song 10. Watch Song

Anthem Of The Sun (Awaiting Repress)

Originally released in 1968, the aspiring Anthem of the Sun is the second album from The Grateful Dead and it finds the band refining the dynamics of their live set in the confines of the studio while simultaneously challenging the conventions of the LP medium. The addition of lyricist Robert Hunter and percussionist Mickey Hart helps take the Dead's brand of improvisational psychedelia to new heights here and displays that they could be as equally transcendent in the studio.

1. That's It For The Other One (Parts I-IV)2. New Potato Caboose3. Born Cross-Eyed 4. Alligator 5. Caution (Do Not Stop On The Tracks)6. Alligator (Live in Los Angeles Version)7. Caution (Do Not Stop On The Tracks) (Live In Los Angeles 1968 Version) 8. Feedback (Live In Los Angeles 1968 Version)9. Born Cross-Eyed (Single Version)

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